This work shows the Gupapuyŋu Ḏaygurrgurr clan design Guku (Native Bee and Honey) in the full splendour of its ceremonial expression. The artist, inspired by researching historic collections from the 1920’s, has referenced the ceremonial dillybags, spears and orthodox galaŋarr stye bark paintings made by his forefathers and found in these early collections.

Galaŋarr is a Yirritja word used by dhuwala-mirri language speakers to indicate the form used when painted on bodies during ceremony. This includes the main rumbal (body) painted on the chest, yaŋara’ (legs), and waṉa (arms) that are painted over the shoulders. During the high law ceremony of ŋärra, these layers of design are added progressively throughout the ceremony to make the final complete form, which is seen in this painting.

Sometimes the first layer, the rumbal or guḻun-mirri (chest design) is referred to as tjiŋlit-mirri galaŋarr, coming from the English word ‘singlet’ (lit. singlet-shaped body paint design). The waṉa ‘arms’ are said to represent those that hang from the djaḻi (armbands) of Gupapuyŋu people as the leave the restricted Ŋärra ceremony grounds for the final stage of the public buku-lup cleansing.

The artist explains that this painting shows the legal regalia of Gupapuyŋu ceremony. He describes the objects depicted as the tools of ceremony that affirm its legality and authority. The ceremonial dillybag, or the dhulmu mulka bathi, is a clans public symbol of sovereignty and affirms connections to creation ancestors – like the Gupapuyŋu Guku Honeybee – and ownership of land associated with the travels of these ancestors. The artist compares the dhulmu mulka bathi to the Australian coat of arms as an object that represents nationhood and constitutional law, a reference made by the artist in previous works.